There are actors who take method acting to a whole other level by immersing themselves in their roles so intensely that they continue to stay in character when on location and off throughout the entirety of a movie shoot. They become those characters on the screen until it’s a wrapper. I like working with actors like that because I see myself as a rebellious, educated writer/producer/director.

When I commit to a film project, I put my entire creative self into the process. I live and breathe the subject matter and pursue absolute realism in what is written, filmed and produced for moviegoers. Sure, that completely changes for me personally whether it’s a comedy like “Due Date” or a light-hearted movie about an animated talking animal. There is no realism to get into. No actor gets into character to play an animated frog 24 hours a day. If they do, they’re mad as a fucking rat.

But when it comes to a hard-hitting Slice of Americana Films project that focuses on a strong theme, it’s a different story altogether. For better or worse, especially when writing a script, I sin with sinners if that’s what it takes to get the story right. It’s my Hunter S. Thompson and Big Daddy Kane Ain’t No Half-Steppin’ approach to making movies. Clearly, I can’t get into everything, but I like to force it.

I was on the East Coast with editor Tim Beachum filming a scene that centered on a bizarre mental fight fueled by weed and booze. It wasn’t playing the way I wanted at all. Looking for inspiration we visited some bars along the beach, we invited a lot of people to the studio for the party. That scene was edited under the influence of red headed sluts (the bar drink), Jack Daniel’s Green Label, Johnnie Walker Blue, Stoli, Corona and medical marijuana.

That night, Slice of Americana Films invented the film editing method. Tim cut that scene as a mad scientist, a poet, a superfly disco artist. I know that scene wouldn’t have been as good without the events in the editing studio that night. One of the best moments I’ve had during the post.

Last night I was out with a friend who has been working under the control of Ameriprise Financial. She has been helping strengthen my film presentation package on the business side. In one lucid moment, I realized with her vision that true independent filmmakers who want to play in the extravaganza of studio-backed movies have to play to their strengths and learn from their flaws. She’s helping me learn how to put together a startup package around a solid business plan that speaks to investors much more used to putting their money in the stock market.

Tonight I am formulating Disco Super Fly Movie Making 2.0 to unite the creative side of being a writer/producer/director and the essential part of being 100% commercial to earn money from your sweat talent. This is indie filmmaker Sid Kali writing read my movie making adventures like a pulp novel.